Paintings of Bundelkhand (Some Remembered, Some Forgotten, Some Not Yet Discovered)

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About the Book This volume, a visual journey, through its meticulous deliberations on the wall paintings and miniature painting of Bundelkhand makes us reminisce the footfalls of valiant Bundella kings, ankle bells of elegant court-dancers, evocative poetry of mabakavi Kesvadas and the brillint artistic skills of mural painters and many other historical events. These find their excellent expressions beyond the palaces of Orchha and Datia, and in amny jagirs and thikanas such as Rehali, ...
About the Book

This volume, a visual journey, through its meticulous deliberations on the wall paintings and miniature painting of Bundelkhand makes us reminisce the footfalls of valiant Bundella kings, ankle bells of elegant court-dancers, evocative poetry of mabakavi Kesvadas and the brillint artistic skills of mural painters and many other historical events. These find their excellent expressions beyond the palaces of Orchha and Datia, and in amny jagirs and thikanas such as Rehali, Madanpur, Chhatarpur, Marsingharh, Ajayagarh, Todi Fatehpur, Samthar, Jhansi and Rannod as well. Aglimpse of Malwa painting is a value-add.

The murals, a living art, more democratic and decidedly popular, were the artistic idiom of Bundelkaand. It was art for the raja and the praja, depicting not only Puranic stories, but also regal affairs and the day-to-day life of ordinary people.

Despite the fact that time, the vicissitudes of weather and vandalism have taken their tool on the murals, a cultivated aesthete can restore life in them. The book candidly reminds us a truth: The paintings of Bundelkhand are half remembered, half forgotten and amny yet to be discovered.

Thus, this book should inspire art connoisseurs, art historians, art students, and laymen alike, paving the way for further researches and studies on the forgotten legacies of Bundelkhand.

About the Author

Born in Harda on the banks of the holy river Narmada and presently based at Indore, Narmada Prasad Upadhyaya is a noted scholar of Hindi literature and Indian painting. He writes with grace and eloquence and his books, 25 in number, are an important part of the bibliography of Hindi literature, Indian art and aesthetics. Among his books are Bhartiya Chitrankan Prampara, paar Roop Ke, Jain Chitrankan Parampara, Kanheri Gita Govinda, The Concept of Portrait and The Colours Fragrance. He has extensively worked on Raghogargh and Jhalawad painting traditions.

Hie special interest is in the painting of central India including Malwa, Bundelkhand, Baghelkhand, Vidarbha and Khandesh. He has worked with the noted scholar Dr Vidhya Niwas Mishra on the projects of Ramayana and Gita Govinda. He has lectured in England, Australia and Switzerland, and has won several awards including the prestigious Kala Bhushan in 2003.in 2002 he was given the British Council fellowship and in 2008 a German fellowship for his projects on the painting traditions of central India.

At present he is working on the interdisciplinary relationship between multiple dimensions of Indian paintings and the different disciplines of Indian literature. The visual heritage of the tradition is a subject of great interest to him. His current project is on the paintings of Bhaktamar, a Jaina composition. He is also working on a project of Gayer Anderson collection of Indian paintings preserved in Victoria and Albert Museum, London, Ashmolean Museum, Oxford, National Gallery of Australia, Canberra, and other museums of the world.

Harsha V. Dehejia has a double doctorate, one in medicine and other in ancient Indian culture, both from Mumbai University. He is also a member of the from Mumbai University. He is also a member of the Royal Mumbai University. He is also a member of the Royal College of the Royal College of Physicians Of London, Glasgow and Canada all by examination. He is a practising Physician and Professor of Indian Studies at Carleton University in Ottawa, Canada. His main interest is in Indian aesthetics. His publications are:

1. The Advaita of Art (Motilal Banarsidass, 1996), 2. Parvatidarpana (The Mirror of Parvati) (Motilal Banarsidass, 1998), 3. Parvati, Goddess of Love (Mapin, 1999), 4. Despair and Modernity, Reflection on Modern Indian Painting (Motilal Banarsidass 2000), 5. The Lotus and Flute: Romantic Moments in Indian Poetry and Painting (Mapin, 2002), 6.A Celebration of Love: The Romantic Heroine in the Indian Arts (Roli Books, 2004), 7. Saundarya The Theory and Praxis of Beauty (Samvad, 2004), 8. Celebrating Krishna: Sensuous Images and Sacred Words (Mapin, 2005), 9. Leaves of the Pipal Tree: Aesthetic Reflections of Hindu Mytbs (Motial Banarsidass, 2005 ), 10. Gods Beyond Temples (Motilal Banarsidass, 2006), 11. A Festival of Krishna (Roli, 2007), 12. Mumbai Footpaths, Paths of Courage, Journeys of Hope (Vira, 2008), 13. Akriti to Sanskrit: A Journey of Indian Forms (Niyogi, 2010, 14. Krishna’s Forgotten Poets (Roli, 2010), 15. Pabari Paintings of Ancient Romance: The Story of Usha Aniruddha (D.K. Printworld, 2010), 16. Painted Words: Pahari Paintings of Matiram’s Rasraj (D.K. Printworld, 2011), 17. Enchanting Tales from India, Megha and the Magic Tree (Om Books, 2012), 18. Megha Meets Vishwakarma, the Journey of Indian Crafts (Niyogi Books, 2014), 19. Rasikapriya (D.K. Printworld, 2014), 20. The Love Songs of Vidyapati (D.K. Printworld, 2014), 21. The Love Songs of Narsinh Mehta (D.K. Printworld, 2015), 22. Parijata-harana: Krsna steals the Parijata (D.K. Printworld, 2015)

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Item Code: NAN418 Author: Narmada Prasad Upadhyaya and Harsha V. Dehejia Cover: Hardcover Edition: 2016 Publisher: D. K. Printworld Pvt. Ltd. ISBN: 9788124608456 Language: English Size: 12.0 inch x 8.5 inch Pages: 160 (Throughout Color Illustrations) Other Details: Weight of the Book: 1.4 kg
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